The greatest movie ever made..!

Crappy film

Better Late Then Never

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

Now this is what I cal a perfect blend of plot, direction and music. Cinema is defined by Sudhish Kamath's second venture and boy, isn't he great? The cast is wonderful especially the leads are very appealing and apt for the characters they portray.And I loved the music used in this piece which shows you that how can a conversation become an unforgettable sex appeal factor and can drive people to do what they are looking for so long. It depicts the lonely lives of the Y generation, although the characters here are 20 something, the situation is often experienced by the Y people. Maybe the YOLO generation might despise this theory, but for a decade or so, GNGM is fabulous and real-time.Some parts were too gaudy and fickle that's why it goes for an 8. Also, I felt the movie ended arbitrarily and they could extend it for a little 15 minutes more. Good!I seriously recommend watching this. Buy that DVD and you will not be disappointed. It'll make a perfect Sunday afternoon.WATCH OUT FOR: the witty one hour long conversation.Can be watched with a typical Indian family? NOLanguage: Yes | Sex: No; implied | Gore: No | Alcohol: Mild | Nudity: No, implied | Drugs: No | Mouth-Kiss: Mild

Sudhish Kamath's "Good Night I Good Morning" is a novel yet interesting watch. It involves loads of hard work & intelligence to write a script like this based a telephonic conversation between two strangers on the New Year night. And the more difficult part is to keep the viewers interested over 80 minutes not giving any scope for boredom. In this type of screenplay boredom is inevitable to strike the viewers but Sudhish Kamath intelligently uses some funny, some poignant & some hard hitting interludes which prevents the viewers from having a monotonous feel to it.As with any good cinema writing is excellent. Movie is basically a conversation between two strangers who at the outset are still clinging onto their extended grief of loss of their respective relationships. And over the course of the conversation how they let go off their angst and get on with their lives , almost. Sudhish Kamath & Shilpa Rathnam's writing is what makes this movie a fulfilling experience. Dialogues are amazingly well written with lots of lines which sure to bring out a smile or two as well as some which moves one.The spontaneity of the actors is one of the strongest points of the movie. Manu Narayan & Seema Rahmani have lived the characters, make the viewers empathize with them , travel with them through their past & the present as well look at the future with expectation. Especially the last twist in the tale would sure bring in joyous exuberance in the viewers. Nischalakrishna Vittalanathan's cinematography brings the story in close proximity to the viewers. The style of cinematography sucks in the viewers into the car the male protagonist is traveling & the hotel room in which the female lead is staying. This gives a personal feel to the viewers which further enhance the impact .The success of the movie lies in the impact the movie has on the viewers which is extremely difficult to create, which Sudhish Kamath, the director has accomplished. It is one of the most unique, creative & artistic movie that has been made in the recent times by an Indian film- maker which warrants more eyeballs as well as accolades.On the whole, "Good Night I Good Morning" is a gratifying experience for the movie lover in you.Bottomline : Ingenious

Many of us won't like this movie because we watch movies only for entertainment,fun,sex, dance n all that... but when we go deeper into such awesome low budget films we realize the strength of Indian Cinemas. Awesome film which takes us through different stages of romantic life in a realistic way.I would suggest the viewers to watch the movie very carefully,for the second time after reading about Turiya on Wikipedia so that you can understand the depth of the film. Film has been directed in a way which could make sense without a Dialogue. Its time for us to choose movies which make sense rather than take us through unrealistic frames of life.

Making rounds of several national plus International film festivals, Sudhish Kamath's (co- written with Shilpa Rathnam) Good Night | Good Morning is an independent film about an all- night phone call between two strangers. Sudhish, an expert movie critic; fabulous host on a chat show (Hands up), goes behind the camera for the second time, with this 80 odd-minutes film. New Years Eve in New York City, Turiya (Manu Narayan), out at a pub with his bunch of boys JC (Raja Sen), Hussein (Vasanth Santosham) plus another inebriated guy (though I'm unsure why he was needed) spot an unaccompanied Moira (Seema Rahmani). Even though the group is shunned by Moira when they approach her at the pub; upon leaving the place, Turiya (who is road-travelling with his lads) calls Moira (who is back at her hotel room). What starts as smart talk between strangers soon turns into a candid tête-à-tête about love, relationships, life and the fancy things that go with it.The lead pair does an exceptionally competent job of enacting their director's vision to the 'T'. They are compelling, maintain consistent body languages and exude great screen presence to reach out to the audiences. Even though the characters are merely connected over phone, their chemistry shines throughout. It takes lesser time for the audience to be charmed by the duo, than it does for them to eventually fall for each other. Manu's 'Turiya' is the quintessential urbane boy - tries to say the right things, is dumbfounded when he quite often has his foot-in-his-mouth moments and turns to pals endlessly for prompts on the trickier questions. He constantly finds himself swinging between safe humor and measured clever talk, ensuring he maintains the right balance to impress (or rather not offend) the girl. Seema's 'Moira' is so relatable that I kept thinking this is EXACTLY what I would have said/done. She's confident but vulnerable, liberal but conformist. She wants to trust the guy, but remains guarded; slams him the first time he tries to make small-talk as a stranger, but almost instantly calls him back probably realizing he isn't a creep with weird fetish. Holds onto her identity, weighs her words, and flirts cautiously so as to not be perceived as easy. She goes through the same emotional roller-coaster that most of us single, new-age feminists do, secretly craving attention but being wary of any guy approaching us, thinking he is a chauvinist just like the rest, which (I quote from HITCH) "life experiences has taught, is a virtual certainty". The cameos are excellent as screen fillers, but sadly the quirks and one- liners are comparatively disappointing.Sudhish had me bowled over at the opening credits when he decided to use jazz music score, it served the perfect momentum for the rest of the film. Without getting into much technical details, black & white scheme works perfectly to lend an old-world mystique of romances, split screen technique of showing Turiya's and Moira's settings is apt as it ensures we get to simultaneously see the reactions of both characters to a particular situation. Bingo!The screenplay is the undisputed USP of the film. It's the usual boy-meets-girl premise but with an expertly drafted account of the varied stages of a relationship. Minute scene detailing, its backdrops, have been wonderfully thought about. My favorite bit about the movie is that it consciously restrains itself from resorting to clichés. Eg: Despite Moira's failed past, it does not put her off men completely. Even though she says she doesn't believe in love, she isn't averse to the feeling or the possibility that she could fall in love someday. When she professes that she's optimistic, makers give us reason to believe her. Another major comfort is the unabashed individuality the film maintains, taking us far away from Bollywood's brain- dead romances in which oversmart-confused boy is right, but secure-levelheaded girl is proved wrong. Apart from being delightfully entertaining, the film encourages to think - about new beginnings, 'the end', commitments, re-bound, holding up and letting go, forgiving, forgetting, the 'happily-ever-after'. In short, there is a little bit for everyone.Reason 3 (and the most important) that made me fall in love with GNGM are the dialogues. For me personally, the headiest stimulant there ever can be, is being part of a witty, sharp conversation. GNGM gets full marks for not only keeping it absolutely real, but more so for never letting it slip away. The dialogues hold true to the vocabulary of the day, are supremely effective because they never come across as scripted, rather flow on naturally. Background score fills in nicely without being distractive, cinematography in general but in specific opening credits which briefly familiarizes trademark New York, is impressive.Very few times do we come across a cinema that consumes you in a way that you're delighted, awed and indulged in a single shot. GN|GM is the very kind of cinema that tugs the heart for its earnest intentions and unadulterated cinematic treat. I found myself watching and re-watching some splendid scenes, from the initial awkwardness, subdued seductions, and unspoken confessions. It all feels wonderfully real that I am almost tempted to pick up the phone and have one such rendezvous of my own. Clocking at close to 77mins, Good Night | Good Morning successfully brings alive on celluloid one of my favorite sayings, 'If you won't let go of old memories, there won't be room for new ones'. For those who haven't had a chance to watch it yet, make sure you do not miss this one. Highly Recommended. - Pooja Rao, Bollyspice